Selavy Oh: The late Salvador Dali. Because he started out as a very
promising artist (just look at his fabulous collaboration with Bunuel in 'un
chien andalou‘ and 'l’age d’or‘) and then quickly turned into kitsch.

Bryn Oh: Which of your own works are you most proud of?Do you feel any failed and if so do you now
know why?

Sol LeWitt

Selavy Oh: Which ones I’m proud of? I think the ones that were
challenges for me. Like the first big works using Second Life, I was unknown in
the community, a beginner with this medium, but still I succeeded and achieved
some works I can be, well, proud of.

The failures. Well, many have failed in one or the other
aspect. An example: I had two big installations at the LEA sims, one in DC
Spensley’s show and one for a show by Lori Landay. The work was called
"the rules“. I had put a lot of work into it, a lot of thinking, coding,
conceptual ideas. But it was pretty much a failure. The idea didn’t come
across. Too complex, the beauty of its inner logic was apparently not
accessible to the visitors, the installation seemed uncommunicative, demure.
For example, nobody noticed that both installations were connected. It’s in a
way ironical, because the topic of the piece was that we constantly try to
understand the rules governing the world around us, but even when they are
plain and simple, we have a really hard time to recognize them. But: I’m still
proud of this one, even though it was a failure.

Gregor Schneider

Bryn Oh: Do you have a method when creating? If so how does it often
progress?For example do you sketch or
write out ideas first for weeks or do you perhaps just jump directly into the
project with little planning and adapt as you go?

Selavy Oh: First I do research. I try to get as much information as
possible about the topic, the

location, the size limits, duration of the show,
etc. I make notes, sometimes I draw, or take pictures. I might look up
something on the internet. All that is like loading a battery. And then I take
a shower. Taking a shower is my method to unleash the hounds of creativity.
Very often though one shower isn’t enough.

Bryn Oh: What are you currently reading, listening to or looking at
to inspire your work?

Selavy Oh: Some examples: reading a couple of philosophical articles
about time machines, a text by Roland Barthes, looking at an old exhibition
catalogue, watching the six hour long screening of Matthew Barney’s „The River
of Fundament“, talking to members of an artists research laboratory, email
conversations with a close friend. Trying to be open, like an antenna, open for
receiving those signals "from the labyrinth beyond time and space".

Bryn Oh: Does your work have an overall theme and if so what might
that be?If not please describe how you
tend to pick your topics.

Selavy Oh: Yes, there is indeed such a theme. But I don’t disclose it.
It is important as a guideline for me to create, but not for the reception of
my work. An artist should not give the interpretation of the work - except if
the interpretation is part of the work.

Bryn Oh: Have you ever had to deal with negative publicity or a
disappointing rejection of your artwork?How do you deal with it?

Selavy Oh: Negative publicity fortunately has been quite rare for me.
But if my work is completely ignored, then that tells a lot. Of course, I had
several rejections of proposals for funding or to get into a show. That’s ok,
it’s part of the game. Perhaps I was lucky so far, perhaps I simply ignored
other disappointments.

Bryn Oh: Would you like to take a stab at explaining what defines
virtual art?

Selavy Oh: I don’t like the term "virtual art" at all. It’s a
misnomer. What we create is real art. Our material is mostly virtual or
immaterial. And that’s already a defining term: you can’t touch it with your
bare hands.

Bryn Oh: What would you say makes virtual creations unique over other
art forms?

Selavy Oh: That you can touch it with your mouse. Joke aside, one
unique feature is the possibility for non-destructive interactivity. Even if
thousand visitors engage with our work there is no need for restoration. Of
course you can also say: the unique feature is that virtual things don’t age.
But that’s not completely true, they age differently. It’s not a continuous
process, but rather instantaneous: at some point, our work will be gone,
because the last piece of hardware to display it will have died.

Marcel Duchamp

Bryn Oh: Centuries ago there was no such thing as an
"artist" just craftsmen, as time progressed superior technical ability
and creativity created the elite "Master" artist whose work stood
recognized above all others.In 1917
Marcel Duchamp submitted a work entitled "Fountain" to the Society of
Independent artists.He stated
"... He (the artist) CHOSE it. He took an article of life, placed it so
that its useful significance disappeared under the new title and point of view
– created a new thought for that object"He wanted to shift the focus away from technical craft to more of an
aesthetic intellectual interpretation. Some say that because of him almost everything
is considered art today.From an
elephant painting with its trunk, a Banksy, a child's drawing to someone
vomiting paint onto a canvas.What is
your perspective on this?

Selavy Oh: Duchamp also said: "All in all, the creative act is not
performed by the artist alone; the spectator brings the work in contact with
the external world by deciphering and interpreting its inner qualification and
thus adds his contribution to the creative act."

This means that it is not enough to declare something as
being a work of art. The artist may intend to create an artwork, but may fail.
In Duchamp’s words: "What I have in mind is that art may be bad, good or
indifferent, but, whatever adjective is used, we must call it art, and bad art
is still art in the same way that a bad emotion is still an emotion."

Thus, Duchamp liberated art by allowing it to be
created outside academic or other conventions. But at the same time he shifted
part of the contribution to the creative act from the artist to the spectator.
Because of this paradigmatic shift, my perspective is that Duchamp is
responsible for a lot of bad art.

Friday, February 13, 2015

Yeah so.. I.. um forgot to put in some dialogue in the previous render of the machinima. I have looked around for someone to blame other than myself but it is difficult to find a scapegoat when nobody else is involved. What I expect happened, though it sounds a bit far fetched, is that my cat perhaps walked over my keyboard when I was not looking, and through a complex and near moonwalk type of shuffle my cat Loki must have somehow erased the dialogue then jumped down to have a snooze before I returned to notice. I really can't imagine any other scenario. Anyway here is the fixed version of the machinima if you have a burning desire to watch it again. And if you have linked or embedded the previous one somewhere, and it is not too much trouble, please delete that. One of my personality quirks is to be bothered by people seeing an artwork of mine that is not the "final" artwork that I am happy with. For example seeing a Flickr photo of my work where half of it didn't rez or something. Anyway I will stop talking now.. here it is.

Monday, February 9, 2015

I just wanted to share this video I discovered. One of my favorite songs right now is called "Take me to church" by a relatively new artist named Hozier. He was saying the other day that he had imagined his career as being one where he would spend ten years or so slogging away at little clubs and if he was lucky to make a living out of making music. So imagine his surprise when so early in his career he has had such a huge hit. So this footage is of him in Paris at a small club doing his hit song during a show. He begins take me to church and not too many seem to know the song in the audience but what is awesome is... a choir came to his show and stood in the front row. They are clearly fans and sang the choir portions that were in the studio version. A choir is too big to take on tour so he must normally just have this quieter version. It is priceless seeing him smiling when they suddenly start singing along with him.

and this is the original if you want to hear the studio version with the choir.

Sunday, February 1, 2015

At Sundance film festival the first movie for use with the Occulus Rift was premiered. The creation by Story Studio, an in house production company from Occulus itself. Created by Saschka Unseld who also did the Pixar short The Blue Umbrella. From everything I have read the movie itself blew everyone away. The way people describe it is actually the way we have been describing narrative in our virtual world for a while now. They talk about the freedom of movement, the feeling of being in a story rather than passively observing one being told. The idea of the active participant. This is likely the first of many new things created for VR that is part game part movie (though I think this is not particularly interactive yet) Oculus Story Studio plans to release four more VR experiences
this year
including Bullfighter, which seems to focus on adrenaline, then a comedy about a hedgehog with a balloon fascination called Henry, and Dear Angelica. There is a video below which introduces Story Studio.